Category: Reviews

[Review] Like A Flower – IRENE (Red Velvet)

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Tuesday saw IRENE from Red Velvet make her solo debut with the mini-album and lead single of the same name, Like A Flower. This is her first release since Red Velvet’s Cosmic and Sweet Dreams, which were released earlier in the year. Fellow member WENDY also made her solo comeback earlier this year.

Like A Flower is another pleasant song. My use of the word ‘pleasant’ in reviews can either be a good or bad thing. But for the first time, I am unsure what side of the spectrum I fall on. Part of me really likes Like A Flower‘s pop-dance instrumental, which has an excellent rhythmic beat. The percussion was soft yet yielded an upbeatness that felt robust and dynamic. The piano melody that peeks through the backing makes it feel pretty and dreamy. There are also some textural vocal chops in the back of the latter parts of the chorus, which I also enjoyed particularly because they help cut the linear nature of the song. The rest of Like A Flower is where my liking of the song weakens. Mostly, the melodies came off as monotonous, and IRENE’s vocals ultimately felt bland. She does a decent job of making herself sound soft, but that comes at the cost of something riveting or captivating. The English lyrics in Like A Flower‘s chorus suffer a similar fate as ATEEZ’s Ice On My Teeth, though not as bad. Overall, Like A Flower is a decent debut track. However, it could have been more enticing.

The following is just my interpretation of the events in the music video. It starts with IRENE recording different sounds in life, including love. It is all shown in a bright and sunny environment, implying her hobby is innocent. I assume that doing this makes her want to experience her love, so she seeks out a guy she met once. She pleads to the internet to help her find the person, going to lengths of using a computer program to find the person and printing out a huge photo of him. But once she does, things turn a little sinister. The mood shifts from innocent to creepy as she chases after him. At one point, he looks up, and she is staring back down at him. This change in the video’s mood shines a different light on the van as she travels in at the start and stores her tapes. It is suspiciously spacious. Scary movie-loving me now thinks IRENE is a serial killer, and the tape recordings represent a victim, with the guy’s tape being titled ‘See The Sun’. I could be very wrong about the dark twist in the story, but that is what I got out of it.

I quite enjoyed the choreography for IRENE’s solo debut. It fully embraces the rhythmic beat I spoke about earlier, and the routine has a contemporary and elegant feel. There were some glitchy-like hand movements in the routine, which I thought was a standout detail.

Song – 7.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.3/10

[Review] Last Festival – TWS:

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After snagging the ‘Best New Male Group’ and ‘Best Dance Performance – Male Group’ awards at MAMA this year, TWS is back with a brand new single, Last Festival (or 마지막 축제). This new song is featured on the group’s first single album, titled Last Bell. It also follows their debut with Sparkling Blue (the mini-album) and plot twist (the lead single) and their first comeback with Summer Beat (the mini-album – yet to be reviewed) and If I’m S, Can You Be My N? (the lead single).

Last Festival continues TWS’ strong ‘lead single’ output this year. It is supposedly a remake of Seo Taiji And Boys’ 1993 hit song of the same name, but reinterpreted to be a chill song. It still has an engaging beat and rhythm, which was the first thing I noticed about Last Festival when I checked it out on Monday. I think a pop element could have helped Last Festival stand out more. Not too much is needed but enough to give Last Festival extra energy. But its current form lends well to the wintery season South Korea is heading into. The hooks and melodies are catchy and work well with the chill background. However, I wish they had been a bit more fleshed out and had a punchier feel (the latter would have lent well to the pop tinge I am yearning for in Last Festival). This would have allowed TWS to work with more riveting and engaging material in the new song. I find the vocals and rapping in Last Festival a little dulled – not to the point where it bores me, but it does feel like the song is beginning to head in that direction. But overall, as it is, Last Festival is a great song from the group.

The music video shows the TWS members each realising their feelings for one particular female student in the entire school before the school year ends. However, as the video progresses, it is shown that the female student has feelings for only one of the members. So, we see the members’ reaction to the female student not choosing them, which obviously involves sadness, dejection and tears. The ending is rather bittersweet, as it is revealed that they are all friends based on the events during the end-of-year festivities. I liked the choreography scenes, especially how the sets were part of the school’s end-of-year production. The one which saw the members perform on the structure of the upcoming skyscraper featured some of the members falling gracefully off the sides of the set, which was a cool way to exit the scene.

I quite enjoyed the choreography and can see why the group was recognised for their plot twist choreography at the MAMA Awards this year (aside from the fact that dance performance went viral throughout 2024). I didn’t think it would be as sharp and fast as it was, and I thought it would have embraced more of Last Festival’s chill side. But it leans more toward the song’s beat and rhythm, which works well for this song.

Song – 8/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 8/10

[Review] Get Loud – KISS OF LIFE

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KISS OF LIFE returned to the stage a month ago before embarking on their first world tour! The comeback features the group’s third mini-album, Lose Yourself, which features the title track Get Loud (the focus of this post), the pre-release single R.E.M (which I have not reviewed yet) and the follow-up single IGLOO. This comeback follows a busy year for the group, which started with their Midas Touch and then Sticky comebacks.

Every time I play Get Loud, I recognise it as a fun and upbeat track from the group. The energy exuded from Get Loud is refreshing for this time of the year. The same can be said with the bright blend of hip-hop and Latin influences in the instrumentation. The vocal work and rapping were solid, and I liked the sleek nature of the raps in the song. All of this should make Get Loud another promising KISS OF LIFE song, making 2024 an even more exceptional year for the female group. But something holds Get Loud back for me. Since its release, I have never found myself drawn to go back to Get Loud, nor does it have that memorable factor that keeps it in my mind. Upon reflection, I put this down to weak melodies and hooks that don’t have the right punch. I wish the choruses had been more prolific; something like Midas Touch’s style would have worked amazingly in this song. Or perhaps, since the song is titled Get Loud, something concentrated and shouty that embraces the song’s title.

At first glance, the music video mostly consists of solo and choreography shots. However, Get Loud‘s video appears to have a reality vs. dream concept, which might explain how some of the solo shorts merge together around the start of the second chorus mark and how two versions of the group perform together at one point. Aside from that, I’m not entirely sure what inspired or how to interpret this video. What I do like is the high-quality nature of the video and how sophisticated it looks. NATTY’s look in the blue fur coat with her hair pinned up was fabulous and classy.

As for the choreography, I liked the tinge of attitude the members added to the routine. It just lifts up the routine and makes it more engaging. I enjoyed the complexity of the footwork, which keeps the routine on its toes. Overall, it was great and showcases why we should pay more attention to this KISS OF LIFE in the choreography department.

Song – 7/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.5/10

[Review] Letter To Myself – TAEYEON (SNSD)

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The last time I reviewed a song from TAEYEON was for Heaven in July. But it has felt even longer ago as I initially put down her To. X comeback in my initial draft of this review. Yesterday, TAEYEON made her solo comeback with her 8th mini-album and new lead single, both titled Letter To Myself.

Letter To Myself is a pop-rock track. While the verses were quite good, I didn’t get into the Letter To Myself until the moment the first chorus steps itself up (i.e., the ‘My head, my head‘ part of the central piece). This gives the song quite an explosive feel that makes Letter To Myself a memorable track in my mind. It also feels quite refreshing, despite delving into a sound profile done numerous times before and TAEYEON’s well-established vocals. From then on, Letter To Myself embraces the rock sound and TAEYEON’s stunning-as-usual vocals. Her ad-libs towards the end of Letter To Myself were fantastic, and you can hear the passion behind her vocals throughout the song. I would pay to listen to this song live one day just to hear TAEYEON belt out those ad-libs at the end. I liked how there is no official bridge or final chorus to this song, yet the song feels complete. Letter To Myself maintains that rock sound from the second chorus to the end, thus making the song feel whole. It also was a way to tap into the ongoing trend of forgoing those parts of the song structure. I am sure that will make the 3-minute song attractive (if that is what listeners really want). Overall, Letter To Myself is a great song.

I am unsure if my interpretation of the music video is right, but I understood this from it. Letter To Myself is about a letter she has written to comfort her past self. The video shows a version of TAEYEON in the past before the letter and in the present after the letter. Before the letter, it looks like TAEYEON was more timid and quiet, as shown via her ‘speech’ on the bus, which no one is listening to. After the letter, she finds her voice and takes over the bus by embracing that rock sound I mentioned earlier to get people’s attention. Later on in the video, we see a similar concept. The bus itself breaks down, and TAEYEON hops off the bus to fix it, whilst everyone else is unappreciative and mocks her. The lyrics at this point in time have the line ‘I’m done being used’, which prompts (though this is done visually by the human-sized teddy bear) everyone to hop off the bus and push it while TAEYEON finds herself steering the bus with that teddy bear. If my interpretation is correct, I think it is quite a simple yet cool video.

Song – 9/10
Music Video – 8/10
Overall Rating – 8.6/10

[Review] TOXIC – MEOVV

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MEOVV kicks off the new week with their first comeback, TOXIC. The latest release follows on from their September debut with MEOW.

TOXIC keeps it simple with a vocal focus and minimalistic electronic instrumental. It’s so simple that the song has barely anything to it instrumentally, and I have yet to decide whether this is a good thing. The instrumental comprises a paced beat and a consistent soft bubbling effect for most of the song. Occasionally, an atmospheric sheen comes into play for certain parts of TOXIC, such as during the choruses and the end of the song. All is good, but it is so beige at the same time. Keeping TOXIC‘s instrumental bare allows MEOVV’s vocals to shine and be heard unfiltered. It is a risk, as there isn’t anything to hide behind. But listening to TOXIC a few times since its release, I don’t see that being a problem for MEOVV in this R&B ballad track, which is about realising how much one depends on a relationship despite it being so toxic. You can hear how stable the rookie group sounds, and you can also hear the emotions behind the voices, which makes the subdued TOXIC more impactful. I am drawn to the members’ falsetto in the choruses and vocals in the pre-choruses. But I wish the melodies and verses were more riveting.

My take on the video is that it shows two sides of MEOVV—once innocent angels (dressed in white and light colours) who have fallen due to a toxic relationship (dressed in black and with black wings). But regardless of whether they are innocent angels or fallen angels, they continue to do everything they used to do before, indicating that they prefer the status quo and hence can’t leave the toxic relationship (as depicted in the song lyrics). However, the fallen angel version of the group does have the added pensive moment. At the end of the video, we see a glimpse of one member trying to ascend back to Heaven via the elevators, which might be the code for escaping the toxic relationship.

Song – 8/10
Music Video – 9/10
Overall Rating – 8.4/10

[Review] When I’m With You – NCT DREAM

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Moving back to the start of the week, NCT DREAM also returned with their fourth studio album DREAMSCAPE, led by the single When I’m With You. The album also features the pre-release single Flying Kiss (yet to be reviewed on the blog) and their first English track Rains In Heaven. DREAMSCAPE is not to be confused with their DREAM()SCAPE mini-album from earlier this year (led by Smoothie).

Compared to their previous comeback, When I’m With You is a bright and vibrant track. At first glance, the brightness made it feel like When I’m With You could have been a song from earlier in their career. But with where they are at (and this was definitely obsered), the new song has a mature focus and delivery. But there is a distinct difference between When I’m With You and the tracks from their earlier days. When I’m With You is a house-based electronic song with both a 90s and disco-pop tinge. I quite like this blend of styles as it has nostalgia, and it served as a solid upbeat base to the song. NCT DREAM’s vocals are good throughout When I’m With You. I like how melody-driven the song is and how well each member did on their own. When they come together for the chorus, When I’m With You felt wholesome. That being said, there were raps in the song and the sequence at the end of the song was very punchy. But while it sounds like it is all praises for the song, I also feel When I’m With You is too safe of a song for NCT DREAM. It lacks innovative or uniqueness that would help distinguish it from its competition, and this is that distinct difference I observed when I made that comparison to their earlier works. NCT DREAM was definitely known for a youthful and fresh sound when they started out. But I also associate an outgoing charm to them back then. In When I’m With You, I don’t feel it as much. The melodies in When I’m With You are ordinary at best, and they felt limited in their delivery. Had there been more dynamic melodies, or more substantial raps, or even allowed to flourish more vocally, these would have done wonders to When I’m With You.

The video shows the members depend on one another and working as a team to resolve their problems. The toy train set on the train represents the train they are on (how Inception is that?). Renjun’s apple drops onto the toy train tracks, causing the train to brake hard. Puzzle pieces and water go flying on the train, which become obstacles the members must overcome in their dreamscape (confirmed at the end when JAEMIN wakes up from his slumber at the end of the video) later on. But they work together to dodge the heavy puzzle pieces, reboard the train, get the train running again, and escape the carriage filling up with water. This is a slightly different interpretation of the lyrics of the song, which portrays the complicated emotions as one becomes irresistibly drawn to someone in the “DREAMSCAPE.” (taken from Soompi). The video just represents that someone as each other.

The all-smiles aspect of the performance helps makes the song come off a lot more vibrant and energetic. It also continues that youthful charm that NCT DREAM has long been associated with the group since their debut (as already mentioned).

Song – 7.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.8/10

[Review] Ice On My Teeth – ATEEZ

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Following their earlier 2024 comeback with WORK and the first part of their Golden Hour series (yet to be reviewed, but it is incoming), ATEEZ has returned with the second instalment of the series. As part of that new mini-album is the new single Ice On My Teeth.

Elegant hip-hop is the first thing that came to mind when I heard Ice On My Teeth. The combination of the hip-hop beat and the classical elements melds together extremely well and created a very unique atmopshere. I do like how the song outros itself, re-emphasing the smoothness of Ice On My Teeth. But while I really liked the production of Ice On My Teeth, I did think the song could have gone further. It is quite subdued in its current state and the track really needed something to break this. I lowkey was expecting an explosive peak of some kind (perhaps an explosive high note from JONGHO or a really bold concentration of the music towards the end), just to really drive home the song. But we never got there. I can say the exact same thing about their vocals and rapping. They very much embrace the elegance and made sure they fit that vibe of Ice On My Teeth. But in doing so, they keep themselves so subdued and they needed some more oomph to break this consistency. The biggest issue I have with Ice On My Teeth are the lyrics. They stuck out from the very first listen, but not in a good way. If anyone can tell me what “I brought diamonds at my dentist, I’ve been playing like tennis” means, that would be much appreciated.

Just the song, the music video also goes down the elegant route. And there isn’t anything as elegant as a big mansion they are in. Throw in some renaissance art, ballerinas, chandeliers, headbusts – you pretty much get the picture. I do like how the video keeps it edgy (as this is ATEEZ we are talking about) by having everyone else in the video don balacavas (including the headbusts). The bonfire and setting the place alight also lends well to this edginess. All the members looks so good visually, as well as the camera work in the video.

For the performance, I really find their movement on stage to be so smooth. From the backwards shuffle to the slant crab-like walk (think there is a proper name for this move, but I cannot think of it), everything looked sleek and goes well with that elegance that is channeled through all aspects of the comeback. As for the rest of it, I liked how ATEEZ finds the balance to make sure it looks intense (like their other routines) without being visually intense. Their aura and charisma on stage must also be commended.

Song – 8/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.5/10

[Review] Running Wild – JIN (BTS)

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I only started covering the week’s newest releases yesterday, yet I am now jumping to the end of the week to cover JIN’s official solo comeback, Running Wild. This new song is featured on his first solo studio album, Happy, which makes him the final BTS member to release a solo album. Previously, JIN pre-released the single I’ll Be There and made his solo debut with The Astronaut back in 2022.

I never anticipated a full English track from JIN. So that aspect of Running Wild caught me by surprise. Neither did I expect a Britpop song from the BTS member, but I had no expectations as to what genre we would find JIN delving into for this solo comeback. Running Wild is a pleasant song, breezy and airy for the entirety of its run. The band instrumental is great, and I liked the uptick in its upbeatness during the chorus. Definitely makes for a gratifying track. Running Wild features some inviting and comforting vocals from JIN, which was great in helping Running Wild deliver its message of running towards hope and love. I do prefer his delivery in the verses more than the choruses, as you can hear his vocal colours and tone in those parts of the song. He handles the choruses’ falsettos just fine, but they do hide JIN’s distinct vocals. Also, I wish there was some stronger melodies and hooks, just to give Running Wild some more compelling moments to remember it by. In my mind, this was the primary issue for Running Wild. Pleasant, breezy and airy is all good and nice, but Running Wild is another song that just doesn’t linger around after it ends.

The music video opens up with a meteor shower. While the rest of the world panics and run, JIN is calm and collected. He ends up going in the opposite direction, opting for a roadtrip with his canine companion. He is definitely riding out the apocalyptic event in the way he wants to. He also drives by a family reuniting, indicating the path he is taking is one of hope and love, just like the message he conveys in the song’s lyrics. The whole montage at the end with JIN swerving his car to avoid the meteors as they hit the Earth was the unexpected. It resembled an action movie sequence. Something less intense would have been the expected path towards the end for this video. However, it was definitely cool and fun to watch.

Song – 8.5/10
Music Video – 9/10
Overall Rating – 8.7/10

[Review] No Doubt – ENHYPEN

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ENHYPEN was one of the groups to make their comeback earlier this week with the new single No Doubt and Romance: Untold -Daydream-, the repackaged version of Romance: Untold from July (which I have yet to review, but will do so soon). The original album was led by the singles XO (Only If You Say Yes) and Brought The Heat Back.

No Doubt takes ENHYPEN into R&B pop territory. In a few ways, No Doubt feels similar to XO (Only If You Say So). This new track also feels mellow and fluid track, brought on by the smooth and airy instrumentation. The big difference is No Doubt features a very slight funky tinge, which gives both the beat and instrumentation a little more bite and body. The same can be said about that whisliting-like effect in the background. It doesn’t explore anything new, but it is enough to make No Doubt feel upbeat. There is a refined and polished vibe exuding from the song, which helps ENHYPEN bring a more mature vibe to life elsewhere in the comeback. But despite smooth being a constant factor of No Doubt, I do find the textural aspect of their vocals to be somewhat ill-matched. I wished the vocals were not subjected to as much autotune and processing to better compliment the rest of No Doubt. In terms of memorability, No Doubt sits on the fence for me. Part of me likes the direction in which the melodies and hooks of No Doubt goes and sounds. But another part of me realizes, once the song ends, they just don’t seem to stick and is easily forgotten. Maybe more listens will help grow No Doubt on me. For now, No Doubt is a good song, but could have been better.

The song is about the changing feelings in a relationship. And the video depicts this through multiple scenarios. At the beginning of the video, the members are office workers exposed to sweltering temperatures and weather. Nothing feels as long as a hot day with poor climate control in the workplace, and the members liken this to a long day that occurs as a result of missing their lover. The boxing ring scenes are a bit more obscure, but the song does have a line that says “I want you, it’s so painful but, Oh, I’d burn myself to prove it baby, no doubt“, which indicates their willingness to go through something painful (like boxing) to be with their partner. Though the most obscure part of the video is the lobster hand that Niki is seen growing and donning at the end of the video to punch a whole in the wall. No clue as to what that represents.

The most memorable aspect of this comeback has to be the choreography. The key move is, without a doubt, the should movement with ENHYPEN’s hands in their back pocket (as per my featured image for the post – it is also the only group moment with all the members in the shot that I could find without a member being covered up or behind another member). But there is something about Heeseung’s forward body roll during the choruses in the music video that also grabs my attention.

Song – 8/10
Music Video – 8/10
Performance – 910
Overall Rating – 8.2/10

[Review] DRIP – BABYMONSTER

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As mentioned in my review of BABYMONSTER’s CLIK CLAK, I would soon return to review the second title track from their recent comeback with their first studio album, DRIP. The song is also titled DRIP and is the focus of this post. Previously, the group pre-released the single FOREVER in July of this year and is featured on the DRIP studio album.

In my opinion, DRIP is a far superior track to the other BABYMONSTER song (CLIK CLAK) that also leads this comeback. Most of DRIP (i.e., the verses) was quite good, making for BABYMONSTER’s best effort yet, in my opinion. Had this been the material they debuted with, BABYMONSTER would have made it on my radar as a rookie to look out for. The vocal work in DRIP was unexpectedly great. AHYEON’s high note towards the end of DRIP was spectacular, and the pre-choruses just ooze charisma. Even the rapping had me thinking ‘badass’ and ‘edgy’, new thoughts on BABYMONSTER. However, DRIP‘s weakest element is its choruses. It feels distinct from the rest of DRIP, steering the song differently and cutting the trajectory the verses built. I put this down to the heaviness of the chorus elements (i.e., instrumentation and textural vocals). The hooks were plain and lacked innovation. Put all of this together, and you have a centrepiece that was a letdown and didn’t continue the excitement I got from DRIP‘s verses. Even the added oomph to the final chorus territory of DRIP didn’t change my mind (and this, on occasion, would win me over).

The music video depicts BABYMONSTER making an entrance, going big and viral, and being covered on the news. They even started mass-producing the cassette tape for their DRIP album. The idea is a little cringy in my books, but I liked its presentation. After all, this is a YG Entertainment music video. I did like the edgy vibe the members were showcasing through their outfits. My favourite moment was the cameraperson’s reaction to ASA’s rap during the live news broadcast – definitely going off script compared to what was on the teleprompter.

The choreography for this comeback was all right. I don’t find it as mind-blowing or impressive as other people might have. I liked the body shaking while the members delivered the song’s main hook, but the rest of the routine looked a little too pretty or awkward for my taste.

Song – 7.5/10
Music Video – 8/10 [Updated on 17/11/2024 because it was missing from the published post]
Performance – 6.5/10
Overall Rating – 7.5/10 [Updated on 17/11/2024 because it was missing from the published post]


[Review] Stray Kids – Stray Kids

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Another single off Stray Kids’ ATE mini-album is the self-titled Stray Kids. It is the seventh track on the mini-album, which includes the title track, Chk Chk Boom, and other side tracks like MOUNTAINS and JJAM.

Stray Kids features a more nostalgic and sentimental tone, much different from the “noisy” side of Stray Kids that many people associate with the group. After all, Stray Kids‘ lyrics speak to their journey as a group thus far. I do like the pleasantness that the song brings to the mini-album. The chorus is easy on the ears (mainly thanks to the all-English lyrics, which makes it easy to follow) and features straightforward melodies that help convey the track’s nostalgic and emotive side. As usual, the rappers did a great job of showcasing the passion behind their delivery and tweaking their style to fit the pop ballad style Stray Kids was going for. What makes Stray Kids extra special is that the song features a few references to some of their old songs. These include lyric references from their old songs that are well-strung to create a cohesive set of lines that encapsulate that nostalgic feel. They include Hellevator, LALALALA, TOPLINE, Blueprint and Lonely St.. The second is that the song references their introduction – Step Out! The third, though I am less sure about this one, is that trap elements in the song are reminiscent of DOMINO, although softened for the direction of Stray Kids. Altogether, I am sure STAYs (Stray Kids’ fans) will find this track touching.

The music video continues referencing their past works, featuring footage from Hellevator, Lonely St., and You Can STAY. It also recreates scenes from the music videos of MIROH and BLUEPRINT or contains elements from their Hellevator and District 9 era. Identifying these references as the video progresses was definitely fun and, once again, nostalgic. We also get footage of the members sitting in a cinema, re-watching all of the above and, figuratively, their journey. But what gets me is seeing the members packed into the elevator, just like they were in their pre-debut era.

Song – 9/10
Music Video – 9/10
Overall Rating – 9/10

[Review] GPT – STAYC

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STAYC returned last week with the single album …I and the lead single GPT. This follows their previous comeback in July with their first studio album, Metamorphic, and its lead single Cheeky Icy Thang.

The first thing I noticed about GPT is how it strikes a balance between different STAYC eras. The melodic side of GPT reminds me of their BEAUTIFUL MONSTER era, yet the instrumental has the upbeat energy and tone that reminds me of their early days. GPT melds these two styles together to create a cute and positively pleasant track. I liked this combination and enjoyed how well STAYC executes it. The melodies and vocals were pretty, and they glided along quite nicely. The instrumental felt glittery and funky. I liked the whistling behind GPT’s leading hook. The “Baby I Love You, Da da da da” hook, whilst initially plain, has grown on me thanks to its earwormy potential. However, if I had a magic wand to improve GPT, a stronger chorus and an additional hook would have been sought after. While the chorus and main hook present in GPT are fine, the song would benefit from a more robust centrepiece and perhaps another memorable hook. This would have made GPT catchier and stand out more. There is plenty of room for it. But as is, GPT has the potential to grow on me further, and this is definitely a good sign for the new song.

I am unsure if this is the right interpretation of the video, but this is my guess. Essentially, the members find this futuristic machine that, if they interact with it, puts them into dreamland, where they experience unrequited love. This hypnotises the affected members, making them appear in what felt like a cult at one point. However, one member was hesitant to interact with the machine and used a key, which they all mysteriously had, to destroy it. This frees the other members, who all run away and enjoy the fresh air and outdoors. I liked the dreamy aesthetic they were aiming for, but a few more clues would have helped with the interpretation.

I liked how the choreography embraced the upbeatness by featuring several bouncy moves throughout the performance. I also liked the cutesy touch that the routine carried, which made it feel fitting for the performance. But there are two standout elements – the smooth arms over-the-head wave they do at the song’s leading hook and the slo-mo part of the bridge. The latter was quite remarkable!

Song – 8/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.2/10

[Review] Over The Moon – TXT

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TXT returned at the start of the week with Over The Moon, the lead single from their 6th mini-album, The Star Chapter: Sanctuary. This is the group’s first release since April’s Deja Vu (which led their 5th mini-album, Minisode 3: TOMORROW, and July’s We’ll Never Change.

TXT takes us down a dreamy motif with Over The Moon. It is a good pop track with a decent beat. Several elements in the song are quite subtle, such as the slight oomph the chorus got through the paced electric guitar strum and the groovy bass guitar. However, they stand out in an otherwise simple and straightforward pop song like Over The Moon, though some more than others. The melodies are nice and pleasant throughout Over The Moon, as are the vocals that deliver them. But the song’s key and most memorable point is the “Over The Moon, Over The Star” falsetto. It is smooth and silky, which works well in a song as pleasant and dreamy as Over The Moon. But while Over The Moon is melodic, dreamy, and pleasant, the song doesn’t have much else to stand out in the sea of other KPOP songs out there at the moment. I do have concerns about how the song will linger in our minds past this week after their promotional cycle for Over The Moon is completed. It also doesn’t help that Over The Moon is how short and quick it is, which exacerbates my concern above.

The song expresses the exciting idea and prospect of love. Throughout the music video, we see the members getting ready in various ways, presumably to see their lover. YEONJUN is getting ready in the bathroom (hygiene is important), HEUNINGKAI exercises to look fit, and TAEHYUN prepares flowers for his lover. Beomgyu and Soobin were also doing other things in the music video, but I couldn’t exactly make out what or why they were doing what they were doing. I also like how the video shows how the rainy weather doesn’t dampen their spirits and emphasises their excitement for love. The dreamy colours were also a nice touch.

I like how smooth and upbeat the performance looked. This combination complements the dreamy nature of Over The Moon and the upbeatness of the song. It also made the song feel more substantial than it sounded. I enjoyed this routine and how it boosted the comeback’s appeal.

Song – 7.5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8/10

[Review] Night Before The End – Xdinary Heroes

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Xdinary Heroes returned with their fifth mini-album, LIVE and FALL, just under a month ago. The lead single is Night Before The End. This comeback follows their Troubleshooting studio album (which I have yet to review—but it is coming!), which is led by the single Little Things.

Night Before The End is an emotional rock ballad. While it is good, it isn’t great, and there are a few reasons for this. While the group hits the nail with the rock ballad genre, I miss the energy and unique flair that Xdinary Heroes have provided with their other comeback singles. I acknowledge that it would be challenging to merge the two while keeping true to both styles. But I think Xdinary Heroes would have found a way to pull it off. As such, Night Before The End does feel a little typical for my liking. Xdinary Heroes did a great job of showcasing the emotions and heartbreak behind the lyrics. Listening to the song in passing, it is hard not to notice the heart-wrenching delivery and passionate emotions the members poured into it. However, hearing something more memorable from Night Before The End would have been nice. It doesn’t necessarily detract from my praise of their vocals, but I think Night Before The End would have spoken louder had it brought on a memorable melody or line. Overall, Night Before The End is good, but it needed something more and/or individualised to make it great.

This is my go at interpreting the video, which I think brings both the heartbreak behind the song and the mini-album’s concept to life. The music video depicts the members as butterflies, representing the mini-album’s ‘live’ concept. However, the video also shows the butterflies burning up as they fly up while the members fall to the ground (the ‘fall’ concept of the mini-album). As shown in the video, the fall also represents falling out of the idea of love, which is mentioned in the lyrics of Night Before The End. This depicts the current state of their relationships, hence the heartbreak and sullen expressions of the members throughout the video. I like the band moments, mainly for the fire, representing the passion and emotion they put out there in my mind. Seeing additional light in the dark music video was also lovely.

Song – 7.5/10
Music Video – 8/10
Overall Rating – 7.7/10

[Review] CLIK CLAK – BABYMONSTER

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BABYMONSTER returned with their first studio album, DRIP, yesterday. The album is led by the title tracks CLIK CLAK and DRIP. In this post, I will review CLIK CLAK, and a review for DRIP will be published in the coming days. Previously, the group pre-released the single FOREVER in July of this year and is featured on the Drip studio album.

From the get-go, CLIK CLAK presents us with a hip-hop-influenced BABYMONSTER. This was an expected sound or era for a group associated with YG Entertainment. However, this is probably one of the weakest hip-hop tracks out there because CLIK CLAK was so bland for most of the song. The trap-based instrumental was stuck in neutral gear, and I felt drained while listening to the track. While this is just an instrumental problem, it does affect my perception of the members’ delivery. It is good to note that the members were prolific at times. But I wonder if that is because the instrumental was so bone-dry, anything would have come off as prolific. I did not find anything catchy or memorable about CLIK CLAK. It also doesn’t help that CLIK CLAK‘s lyrics are so tacky. As such, I found myself tuning out of the song. However, you get rewarded if you stick through the above and make it to the end. CLIK CLAK changes gears and converts the drain into a dynamic club track. I like this energy and shift, which is much appreciated after all the neutralness. I just wish we didn’t have to sit through the front end of CLIK CLAK to get there.

The music video fits the brief and makes BABYMONSTER appear edgy with its demeanour, outfits, styling, and black-and-white filter. But like the song, I found the video to be a bore. It could be the song affecting the viewing experience, but I don’t register anything in the video to be memorable in a good sense. Rather, two elements stuck out for me in the wrong way. CHIQUITA’s really baggy and long outfit and ASA’s sunnies. Just a no from me. But it could simply be because I don’t understand fashion.

Song – 5/10
Music Video – 5/10
Overall Rating – 5/10

[Review] TRIGGER – THE BOYZ

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Now, I skip back to the start of the week when THE BOYZ returned with their 9th mini-album, 導火線 (TRIGGER). Their lead single also shares the same name. This is their first release since March’s Nectar, which was part of their PHANTASY studio album’s third and final part.

Over the last few weeks, I have delved into the world of theatric and epic instrumental music. This type of music helped me power through my long and tiring day. THE BOYZ’s TRIGGER has the same vibe as the theatric and epic instrumental music, and I can imagine it fitting in neatly into those playlists. TRIGGER’s EDM instrumental has bouncy elements that remind me of SuperM’s Jopping‘s instrumental. It also gives the verses a funkiness, an interesting and trendy dynamic in this otherwise dark dance track. The pre-choruses in TRIGGER switch the EDM for some classical instrumentation, changing gears to build momentum to the song’s choruses by slowing things down. It sounds counter-intuitive, but the producers and THE BOYZ handle it well. They used the short sequence well to simmer TRIGGER’s intensity in a concentrated manner to successfully bridge the EDM in the verses to the epic vibes in the chorus. The choruses double down more on the classical instrumental side, with some trap elements peeking through. This gives the instrumental excellent pompous energy but allows THE BOYZ to deliver their dance performance. I commend THE BOYZ’s delivery throughout the track. They matched the power and energy during each section of TRIGGER, ensuring the cool or epic vibes are carried through. SANGYEON and JACOB’s high notes were amazing. To be honest, vocally and rapping wise, I think this is THE BOYZ’s best effort. They really pulled out all the stops for this comeback.

The music video references the Greeky mythology of Prometheus, who stole a flame from the Gods to give humanity knowledge to develop their civilisation. However, humanity takes the fire and burns the world with it. This angers THE BOYZ, who disagree with humanity’s misuse of the flame. This triggers them, resulting in the events in TRIGGER’s music video. I am not sure if they are agents for the Gods or are humans who are looking to lead a rebellion against the rest of humanity for their misuse. However, I am leaning towards the former based on the imagery we saw towards the end of the video (the lightning might be a reference to Zeus, who was clearly not happy that the flame from the Gods was stolen by Prometheus. I also liked the addition of technology to the video, making it modern and futuristic.

The choreography for this comeback carries through that epicness I mentioned earlier. While there isn’t a standout move, I was in awe watching their performance last night on Music Bank. During the verses, the members show a chic and cool demeanour. As for the choruses, we get intense moves that give off angst and aggressive energy that THE BOYZ pulls off well.

Song – 9/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9/10